|author=Ryotaro Wada, Ito Eisuke, Aoki Tatsuya, Iizuka Satoshi, Hashimoto Satoshi, Honma Satoshi

'''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni Lanov.  

The [[Boards of Canada]] and the impact of ''[[Music Has the Right to Children]]'' was strongly felt. The brothers engineering direct pluronic music, ambient atmospheres and utilizing aspects of Hip-Hop, but all genres of music were used to propagate their unique sound. Words begin to fade into the music and become one with the sound, but they maintain their sense of direction and flow, a sound full of immersive vitality. The beauty of their sound proceeded to propagate and quickly spread throughout the world. ''[[Music Has the Right to Children]]'' had become an exceptionally prominent seller on the Indie charts in the UK. Their signature identity, their je ne sais quoi and otherworldly sounds were immediately recognizable but they didn't show you the whole picture with ease. Giving few interviews and rarely seen in photographs, their style and their activities were constantly wrapped in a veil. Sometimes referred to as 'Scotland's greatest mystery'.  

Their sound continues to impact the music scene in a variety of ways. The methodology, sound texture being a duality of sonic mastery. IDM and post-rock were being sold readily with coined nicknames such as 'Nupsychedelic', but still, [[Boards of Canada]]'s sound is something that doesn't fade, it continues to grow into something beautiful over time. Their sound is unique.  

Meeting and exceeding the high expectations of future releases that fans were left with after their 1998 release, '''[[Geogaddi]]''' (2002) saw the light of day. Sounds and phrases, everything is composed of great beauty. Great moments of euphoria are reached in the new release. Within lies a psychedelic world that only the brothers Sandison can create. In addition to this, the few that have seen them at a live setting have also told of the charming characteristics of their, often intimate, live performances. The perfect blend of both psychedelic video and sound entrances the listener with all senses.  

I am overjoyed to be interviewing both [[Michael Sandison]] and [[Marcus Eoin]], the masters behind the music, listening intently as I am aware of some of our readers anticipation and interest in hearing their story. Although I am  not aware of how familiar they will be to Cookie Scene readers, I find that their sound alone leads me to want to know the story beneath. I tell myself: 'Before beginning this interview, I will want to recap their history'. ''[[Geogaddi]]'' was distributed to the press upon its release. I find myself wondering 'Are their four, or perhaps even five members of the group to create such a diverse sound?' The answer to this is now apparent. In 1995 the band and a group of their lucky friends gathered in [[Hexagon Sun]] studios in the Pentland Hills, Scotland and held an ordinance for their new release. [[Hexagon Sun]] is often the venue of small scale, closed audiovisual events for members of the collective. Their early releases were on a self-produced label '[[Music70]]'. The very first release had been layered with melancholic melodies and rough rhythm sections.  

This interview will comprise of three parts.Part one will be applying their roots, they tell me that they were releasing records from childhood.

''I feel that it had a great deal of influence yes. For example to the north, there is very sightly and beautiful nature and wildlife combined with sometimes brutal and barren landscapes. For children who live there, there is not much to do however. We were given little entertainment. Self sufficiency at the heart that is stirred up by the decision to try to create something was our real motivation''}}

{{boc|Marcus: ''We knew a handful of bands from that place and time. We always listened to the rough, loose kind of music. More so than music created by groups and bands purely to be listened to in and of itself at the time, we were influenced by  an array of Canadian documentaries and their soundtracks during our time there''}}

{{boc|Mike: ''Our music emerged mostly from natural chance at that time. One month we were making a b-music production, another eight and we were making an amateur video production accompanied by our own music. This was fueled by the basic impulse to create simple videos for ourselves''}}

{{boc|Marcus: ''I think there are various stages in relation to film and music in terms of our own productions. Many of our earlier home-made films were purely experimental. I feel it was in contrast to a lot of the music videos coming out that were typically a combination of both dancing and music, with little other visuals. There was also the commercial aspect of that.''}}

Recently, one feels that the commercial music scene is coming back in a way, but there were always artists with a particular palette in terms of audiovisual creations. In many ways, the video is now viewed as one of the elements to music creation. In some cases, the videos were never intended to be reflective of the music, but were purposed for it in such a manor anyway.

{{boc|Mike: ''There are actually an awful lot of songs that were not used for ''[[Geogaddi]]''. An awful lot that have not been used. We'll have fun creating the new album, our lifestyle warrants that. You might hear a few of the unused tracks making it to the production line in future.''}}

''I think that artists feel a sense of intimacy in the country. At that time (60's) I think fields and nature represented a certain sense of freedom. I also feel that psychedelic and hippie music has its roots in country music and was effectively an adaptation of such. They were tributaries and offshoots of the main river that is country music. It eventually became a fashionable existence to identify as a 'hippie'. We empathize and relate to the fundamental ethics of that stream of music, though.''}}

''For Pink Floyd, they generally don't compare us. There isn't so much to hear in their early works. The same can be said about Brian Eno. Some of his works we've certainly enjoyed though despite not listening to all of his works. We adore and are well connected with Autechure. It feels like a vast difference between our sounds though. I tend to focus on music to surpass limits of rhythm and electronic sounds, the core of our sound is generally a melody. With God Speed we have also listened to a small quantity of their work but by no means all of it and I would like to express the greatest respect for Darrel, also my friend. He is probably one of the nicest guys in the people who are doing electronic music.''}}

{{boc|Mike: ''[[SKAM]], they are not affected by the commercial thing. A 'do-it-yourself' atmosphere that you have to stick to to a certain extent. Andy Maddox (head of [[SKAM]] records) is, while being a layed-back person, someone that would come up with ideas to realize that you want to do immediately. I think we just wanted to feel that we were running our own creation. [[Warp Records|Warp]] is more of a 'big label' type situation but I also feel that we are one large family in music.''}}

{{question|''You were also working under the name '[[Hell Interface]]' ?''}}

{{question|''The John ''[[Peel Session]]''s were also a great release, we don't yet have any recordings other than that of seeing you perform in a live setting. Do you consider yourself to be more expressive through live works or do you tend towards the studio side of the situation?''}}

{{boc|Marcus: ''Really, we have actually wanted to do so. Several times we were invited to play in japan, in fact. However, its not like we have a 'This year I want to do a gig' sentiment very often.}}  

 

 

 

[[Category: Interviews]]

[[Category: Geogaddi era]]